User:Hannah.pittman95/sandbox

Elizabeth:
Rough draft- Adding to "Reception"

Feminist scholars have examined Fatal Attraction for its correlation between psychopathy and the "career woman", stating that in many ways the film has used that correlation to create it's horror element. As described by Deborah Jermyn, the use of the "monstrous-feminine" as a tool in the 1980s horror genre was a way to portray a man's worst fears', where a woman has rejected familial values and gone to hysteria,  questioning the true values of woman and what it means to be feminine. Interestingly, there are also many ways that Alex (Close) also portrays womanhood in a more traditional light, with the character befriending her lover's wife and drinking tea in their home, while contrastingly, his wife slowly turns more assertive and violent, monstrous if you will. The fluidity of these female characters' monstrous and fearful tendencies is what makes the "fear" more real, according to feminist study. The fact that any day the woman who rejects traditional womanhood for a more career-based lifestyle can swap in just a matter of moments to the "housewife", and vice-versa, provides the horror that this movie begs.

The psychological and academic analysis could use more work, we could add some information on the implications of Glenn Close's character and the psychological dissent she incurs. Also, the correlation between her being a strong career woman and her psychopathic tendencies and the reception that that has been given by feminists could use more content and citations.

Glenn Close's character in Fatal Attraction has psychopathic characteristics that are problematic, as they are ascribed to a successful and career-oriented woman, subsequently causing them to associate psychopathy to a woman's success.

Bibliography:

https://s3.amazonaws.com/academia.edu.documents/33091535/The_Traffic_in_Men--Postfeminism_and_Masculinity.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&Expires=1517884515&Signature=PTxs2EQZrNnB17wst9B7ou2IvKA%3D&response-content-disposition=inline%3B%20filename%3DThe_Traffic_in_Men_Postfeminism_and_Masc.pdf

https://watermark.silverchair.com/37-3-251.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAa4wggGqBgkqhkiG9w0BBwagggGbMIIBlwIBADCCAZAGCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMVAirkZ2ND2p0ElvYAgEQgIIBYToCLfLgrWvQXFnRZDD6ykBUHCMljSd4Kg0kOiLdG28lO8l-HkeaFiqeG642JhgKYF3hbHZZjZnlVfu3eto1U7QAc-77G1Qy3E6SPWQHRDqCaIiYwNlUUHJBDTCSljoJtPt34p6eF3gqvL9WrS2Uk3kjFFqCD2r1IZR0pFUNoeqWKHkUpl1k-meFx9p5VFPqSEesTARjwSgWmCxiREZ7fFxu8ioS-qpDfbqG8KvI5E_C3tzPXw8ou2Zb8nCYGq9SGc597lw-afyIcBsvgHHcrNSr9dmX50sLMIoGuMpc_6Lwt8GpekkEcYYANcmX-f5cZMjvR5UIrpr9KP2AJv9rgdgMRRHCsPu5pQjFugwF5axrGVeCQgRyFUhQJPSGgUsHQT3k24oTm3-KA85WNaJLUIAZ_BrhrC4XkS4gWahL3fp9Y0khWWRbWGvZu_FGzshpTG8N67Dqcr_9XE76HR032bJa

Andrew:
I plan to use the following source to further develop the section on the Wikipedia page about reception of the movie. Sansone, R. A., & Sansone, L. A. (2010). Fatal attraction syndrome: Stalking behavior and borderline personality. Psychiatry (Edgmont), 7(5), 42. https://www.aeaweb.org/articles?id=10.1257/aer.97.5.1731

I copyedited the Fatal Attraction page, chaning some grammar and sentences. Andhenne (talk) 02:47, 8 February 2018 (UTC)

Rather than reception of the movie, I will be talking about perception of stalking behavior using the article I found several weeks ago. Andhenne (talk) 17:49, 28 February 2018 (UTC)

Hannah:
I will be changing my focus to analyze the wife/mother roles in this context of the American "traditionalist" values:

In the earlier phase of the film, when it was under the title "Diversion", Alex committed suicide in the end. After showing this version to a test audience, they felt this was not a good enough way for Alex to go. Instead, the producers decided to shoot the last scene as a more vengeful and violent death for Alex.

After spending $1.3 million, Alex's death and Beth's survival was determined to be the official ending of the film. However, this presented a more traditionalist message to the audience. This new ending gave the idea that a professional woman and a wife/mother are two very divided choices. With Alex being shot by Beth, in the official ending of the film, this is viewed as death to the bad woman (a career woman), and a win for the good woman (a wife/mother).